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Saiyaara : An intense romantic drama with boyfriend goals

Ahaan Pandey and Aneet Padda from Saiyaara. Both of them are rock solid in demanding roles

The core plot point of Saiyaara doesn’t make any pretense of being new, in fact it’s a classic Vishesh Films territory with a YRF soul. However, what makes the film click is the emotional core involving the two leads. The soulful music by various composers and its integration is also wonderfully done. Both Ahaan and Aneet get the tone of their characters perfectly, the close-up shots in particular where they have to emote just through body language is simply brilliant.

Starcast: Ahaan Panday, Aneet Padda, Geeta Agarwal, Rajesh Kumar, Varun Badola and others

Genre: Romantic drama

Director: Mohit Suri

Writers: Rohan Shankar and Sankalp Sadanah

Producer: Akshay Widhani

Production house: Yash Raj Films

Music: Mithoon, Tanishk Bagchi, Sachet Parampara etc

Cinematography: Vikas Sivaraman

Running time: 2 hours and 35 minutes

Mohit Suri’s Saiyaara has had a fantastic prerelease buzz transforming into very good openings, additionally the movie has also struck a chord with numerous audiences something which even some of the big films have failed to do. On paper Saiyaara is a romantic drama harping back to the times of Rockstar and Mohit’s own Aashiqui 2. It’s about passionate love bordering on madness. However, the film still works because it’s a familiar tale well told.

The broad storyline of Saayiara focuses on two individuals Krish Kapoor (Ahaan Panday in his debut) and Vaani (Aneet Padda in her first major role). Krish Kapoor is talented, but a hot-headed musician, his hot headedness and angst is established early on where he gets into a brawl, it’s related to the heated topic of nepotism. A big reason for Krish Kapoor’s angst is the alcoholic father played by Varun Badola. Vaani on the other hand has a way with words but suffers from confidence problems., she carries a major emotional baggage. This is due to her ex-boyfriend, he had ditched her at the last moment of a register marriage. The two meet by chance leading to a tumultuous romantic journey, two broken souls healing each other and a medical condition threatening to destroy their happily ever after.

The best part of Saiyaara is how Mohit Suri along his writers build up the love story. How Krish and Vaani find solace changing each other’s lives has been well depicted. A specific mention must be made of the portion where Krish Kapoor talks about his desire for fame and not wanting to die in poverty. The subsequent scene involving Varun Badola and Vaani also opening up about her emotional baggage leading to a fresh start moves the viewers. The pre interval block with a major revelation also doesn’t feel jarring because there is enough foreshadowing.

In the second half the viewers see a different side of Krish. A devoted boyfriend who puts his love above the desire for fame, he gives major boyfriend goals much like Ranveer Singh in Rocky Aur Rani Ki Prem Kahani. The romantic moments are heartwarming also aided by the striking chemistry between the two leads. Yes, some parts of the second half like the return of Vaani’s ex-boyfriend and the scenes between them do act as a speed breaker but as viewers you are still invested in the proceedings.

The music composed by Mithoon, Tanishk Bagchi and others also lift the movie. Specific mention must be made of the title track sung by Faheem Abdullah. It’s an absolute earworm both singing and composition wise. The song comes at the right juncture and is also aided by Ahaan Pandey’s performance.

Mention must also be made of how the movie dwells into digital journalism and the culture of instant gratification songs. There is an important dialogue where Vaani talks about the songs that have endured the test of time and how these were created.

It goes without saying that Ahaan Panday and Aneet Padda successfully carry the movie on their shoulders. Ahaan Pandey seamlessly captures the different shades of Krish from the hot-headed nature to the gradual transformation. The simmering anger feels authentic and there is a certain boyish charm. Aneet Padda also gets into the skin of her role particularly in the emotional scenes of the second half. Portraying a character with serious illness isn’t easy but Aneet scores full marks for a job very well done. In fact, both Ahaan and Aneet establish themselves as potential stars going forward.

In the supporting cast Geeta Agarwal and Rajesh Kumar provide good support as Vaani’s concerned parents, they lend in a lot of warmth. Varun Bodala as the alcoholic father also has his moment during an apology sequence but the shift in the dynamics could have done with better writing. Shaad Randhawa in a brief appearance as a rapper singer moddled on Yo Yo Honey Singh suffers from a sketchy characterization not bringing much to the table.

Final word: Sayiaara is worth watching for those who like passionate romantic dramas with soulful music.

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Tanvi (The Great): Cheerfully optimistic but an important message

The starcast of Tanvi (The Great)

Anupam Kher as the grumpy grandfather coming to terms with Tanvi’s autism gives the movie a strong emotional core. The scene where Tanvi finally addresses him as dadu instead of colonel Pratap Raina is very heartfelt moving the viewers. In the title role Shubhangi Dutt delivers an authentic performance making a promising debut.

Starcast: Shubhangi Dutt, Anupam Kher, Pallavi Joshi, Jackie Shroff, Aravind Swamy etc

Direction, story and producer: Anupam Kher

Genre: Drama

Additional writers: Ankur Suman and Abhishek Dixit

Production Companies: Anupam Kher Studio and NDFC

Music: M M Keeravani

Cinematography: Keiko Nakahara

Running time: 2 hours and 30 minutes

In the last few years there has been an increase in the trend of Hindi movies dealing with the topic of differently abled. Whether it is Tushar Hiranandani’s Srikanth with Rajkummar Rao as the visually impaired businessman, Kabir Khan’s Chandu Champion about a paralympic champion. This year the Aamir Khan produced Sitaare Zameen Par was an earnest attempt at normalizing people with down syndrome and autism challenging our general perception of normal. A common core point of all these movies is being different doesn’t make you a lesser person. This section are also capable of doing brilliant things.

Anupam Kher’s second directorial after a long gap pretty much follows the formula of the ones mentioned above. It makes a strong case for inclusivity even though excessive cinematic liberties does somewhat hamper the experience. A tighter second half would have definitely justified the title even more. The story of Tanvi (The Great) begins with Vidya Raina (Pallavi Joshi) she has worked a lot on the topic of autism; Vidya Raina is invited to a conference in United States. Vidya Raina is a single mother, as a result she takes her daughter to Lansdowne in Uttarakhand. Anupam Kher is Tanvi’s grandfather and retired Colonel Raina. Tanvi’s dynamics with her grandfather isn’t so great. Additionally, Colonel Raina has a hard work in wrapping his head around the concept of autism. The movie focuses on how the two gradually develop a bond and Tanvi’s desire to join the army in order to fulfill her father’s dream of saluting the Indian flag at Siachen Glacier.

A strong aspect of Tanvi (The Great) is the evolving relationship between the granddaughter and the grandfather. How the two learn to co-exist with each other particularly Colonel Raina gives the movie some of its best moments. The gradual transformation of Colonel Raina from his initial resistance to eventually admiring the fighting spirit of Tanvi is a delight to watch.

Shubhangi Dutt and Anupam Kher

Anupam Kher along his writers also do a fine job in creating the right emotional core. There is a specific reason for Tanvi’s desire to join the army, it’s not about killing the enemy in a war. It’s more about fulfilling her father’s wish and this has come out in an impactful manner.

The portions of Tanvi going through the hard grill of military training in spite of physical challenges has been both well written and enacted. Particular mention must be made of Aravind Swamy playing Tanvi’s mentor cum coach Major Srinivasan. He plays a hardened military man who is both strict as well as supportive. Major Srinivasan’s connection with Tanvi’s late father and how this leads to an emotional bond has also come out well.

The movie has numerous familiar faces in the supporting cast apart from Anupam Kher and they all do well within their respective roles. Aravind Swamy though shines the brightest followed by a dashing Jackie Shroff in the role of a senior army man Brigadier Joshi. Tanvi’s exchanges with Brigadier Joshi specifically the portion of her affectionally calling him Tiger is nice to watch. Jackie Shroff brings in a certain warmth. The same applies to Boman Irani as music teacher Raza, as Tanvi’s confidante the actor brings in his usual finesse. Pallavi Joshi as the single mother is good too but her track needed better writing. The portions of Vidya Raina in US and the angle of her autism project feels somewhat superficial not adding much to the proceedings.

Shubhangi Dutt and Boman Irani

Infact the movie’s second half could have done with far more crispness. A feeling of restlessness creeps in. Also, the journey of Tanvi in the latter half resembles more of a masala Hindi movie undoing the nuanced first half. There is a certain sense of repetitiveness with the same point being hammered in.

Technically speaking Tanvi (The Great) is a visual treat. Cinematographer Keiko Nakahara captures the hilly terrains of Lansdowne and the misty mornings beautifully through this lens. MM Keeravani’s songs are also tuneful with Man Chala Manwa and O Mera Manmohana standing out.

It goes without saying that Tanvi (The Great) is largely reliant on the performances of Shubhangi Dutt and Anupam Kher, both are first rate in their respective parts. Shubhangi is terrific in capturing the fighting spirit, she nails the different shades of her character from a certain innocence to becoming an idol. Anupam Kher as the grandfather is also terrific delivering one of his better performances. He brings in an emotional resonance as a disgruntled old man whose outlook undergoes a significant change.

Final word: Tanvi (The Great) doesn’t match the qualities of its protagonist completely. Nevertheless, for those who like optimistic stories with a message the movie makes for a good watch.

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F 1: A thrilling adrenaline ride specifically for racing buffs

Brad Pitt and Damson Idris

F1 directed by Joseph Konsinki has all the staple elements of an underdog story mixed in a sports template. However, what makes the movie work is the packaging, the car racing sequences have the right amount of thrills keeping the viewers on the edge. The behind-the-scenes chaos also adds a certain amount of gravity to the proceedings. Brad Pitt and Damson Idris lead the acting department

Starcast: Brad Pitt, Damson Idris, Kerry Condon, Javier Bardem and others

Genre: Sports

Direction and story: Joseph Konsinki

Screenplay: Ehren Kruger

Producers: Joseph Konsiki, Brad Pitt, Jerry Bruckheimier and others

Production Companies: Apple Studios, Dawn Apollo Films etc

Cinematography: Claudio Miranda

Music: Hans Zimmer

Sports movies across the world follow a certain template an individual rising out of ashes after a major incident and a team which is down and out. How the protagonist puts the team back on the map forms a major core. F 1 pretty much follows these rules however the way Joseph Konsinki uses the sport of Formula one racing makes a big difference. The movie perfectly fits the tag of popcorn entertainer something to be enjoyed on the big screen. Not surprisingly the film has been smashing records right, left and center.

The plot of F1 revolves around Sonny Hayes (a charismatic Brad Pitt). Sonny Hayes was a popular Formula one driver however a devastating crash turned the life of Sonny Hayes upside down. He is now working as a taxi driver in New York and also competing in underground races, things take a major turn when the Formula one team owner and friend Ruben Cervants( Javier Bardem) offers a comeback. Sonny now has a chance at beginning life fresh on the circuit, at the same time he is tasked with mentoring a rookie but talented Joshua Pearce (Damson Idris). This is the story in brief.

A standout aspect of F1 is the realistic racing sequences, as a viewer you are sucked into the world of racing even if you aren’t into watching Formula one races. The intense competition between the racers as one tries to outdo the other has been shot in a thrilling way. It gives goosebumps thanks to the wonderful cinematography of Claudio Miranda. Hans Zimmer’s background score also adds to the immersive experience; it contributes significantly to the high-octane thrills.

F1 also benefits from the portrayal of behind-the-scenes chaos coupled with the corporate politics among other things. These aspects add a compelling layer specifically for those who aren’t much acquainted with the world of racing.

The portrayal of the underdog team also makes the viewers root for Sonny Hayes, Joshua Pearce etc. How they take on the big giants like Ferrari, Mercedes and Red Bull relying on strength of will power is a treat to watch.

The dynamics between Sonny Hayes and Joshua Pearce from starting off on a not so friendly note and eventually becoming the perfect team has also been wonderfully written and enacted. The performances led by Brad Pitt and Damson Idris is first rate too. Brad Pitt’s Sonny Hayes is a mixture of cockiness and emotional depth, the actor nails both the shades. A particular mention must be made of his performance in the scenes with Kerry Condon playing an APXGP technical director. Damson Idris is equally compelling as a new age talent trying to strike a perfect balance between the demands of social media while focusing on his ambitions. Kerry Condon also stands her ground as a female proving her worth in a male bastion. Lastly Javier Bardem as the desperate team owner also makes his presence amply felt.

Final word: F1 is an edge of seat experience and perfect watch for those who want big screen spectacle.

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The Hunt: The Rajiv Gandhi Assassination Case: A gripping manhunt

Amit Sial, Sahil Vaid and co

The best thing about this Nagesh Kukunoor directed web series is the multiple perspectives. This includes both the special investigative team and also the perpetrators behind the assassination of late Rajiv Gandhi. The quote of “One man’s terrorist is another man’s freedom fighter,” has been explored well

Starcast: Amit Sial, Sahil Vaid, Bhagavati Perumal, Girish Sharma, Shafeeq Mustafa and others

Genre: Crime thriller

Director: Nagesh Kukunoor

Story: Rohit G. Banawilkar, Nagesh Kukunoor and Sriram Rajan

Based on: Ninety Days: The True story of the Hunt For Rajeev Gandhi Assassins

Producers: Nagesh Kukunoor and Sameer Nair

Production Companies: Applause Entertainment and Kukunoor movies

Cinematography: Sangram Giri

No of episodes: 7

Streaming site: SonyLIV

2025 has been a fantastic year for Applause Entertainment with consecutive hit web shows starting from Black Warrant and Criminal Justice Season 4, now their latest web show The Hunt: The Rajiv Gandhi Assassination Case has opened to rave reviews. The Hunt truly deserves all the praise that has come its way. The broad storyline of this Nagesh Kukunoor directorial has shades of Shoojit Sircar’s Madras Cafe also based on the assassination of Rajiv Gandhi, however the tone and also the timeline varies significantly. Madras Cafe was about the events leading up to the assassination of Rajeev Gandhi due to India’s intervention in SriLankan’s Civil War. This web series though focuses on the manhunt following the assassination. Apart from being an investigative thriller Nagesh Kukunoor and his writers have also dwelt into the political tensions.

Madras Cafe directed by Shoojit Sircar

A major strength of The Hunt web series is the depiction of numerous challenges faced by the CBI team. How the squad gradually assembles all the pieces to track down the LTTE operatives in a terrain where the LTTE has widespread sympathy has been wonderfully written and enacted. The constant game of wits between the two sides plays out in a gripping fashion keeping the viewers thoroughly engrossed about the outcome.

Nagesh Kukunoor also deserves praise for the balance of intense moments with the personal side. There is a portion of the feared Sivarasan and the aid Suba (Gouri Padamkumar) enjoying a Rajinikanth movie like any normal couple. Similarly, there is a scene of Subha painting her nail while guarding the hideout with a rifle. These moments are lovely to watch. On the other hand, you have two investigators exchanging their views on the food in North versus South, this is just before meeting an informant. This juxtaposition of the professional investigation and some carefree moments makes the show very enjoyable.

Through the track of LTTE supporters Nagesh Kukunoor along with his writer’s dwell into how the armed rebels are considered heroes by the local population. This is where the theme of one person’s hero being another person’s terrorist comes. The viewers also see the officers doing certain things that don’t align with their personal beliefs. The web series at no point takes sides leaving the viewers to make their own judgments.

Mention must also be made of Sangram Giri’s cinematography. He does a very fine job in capturing the atmospherics of 1990’s Tamil Naidu. There is in a lived-in feel. Specific mention must be made of his work in the tension filled last moments.

The mixture of characters conversing in Hindi and Tamil also doesn’t get jarring due to the fluent pronunciation. Sahil Vaid in a breakthrough act nails his Tamil dialogues, breaking out of hero’s best friend mold Sahil gives a very good account of himself. Amit Sial as DR Kartikeyan too brings in the both the required gravitas and authority as per the requirement. Bhagavati Perumal is also good however the two actors who stand out the most in the supporting roles are Shafeeq Mustafa and Gouri Padmakumar. They play their roles to absolute perfection capturing the various nuances.

Sahil Vaid in a breakthrough act

Shafeeq Mustafa and Gouri Padamkumar

While gripping for most part The Hunt could have benefitted with more contextual set up about IPKF (Indian Peace Keeping Force). Also, Rajiv Gandhi’s involvement for those not aware needed a little more detailing. The last episodes also somewhat drag making you wish Nagesh Kukunoor had wrapped things more crisply.

Final word: The Hunt: The Rajeev Gandhi Assassination Case is a binge worthy watch for fans of layered thrillers featuring psychological warfare

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Aap Jaisa Koi: Feminism wrapped in romance

R Madhavan and Fatima Sana Sheikh in Aap Jaise Ko

Director Vivek Soni takes the classic trope of gradual love in an arranged marriage to deliver stinging lessons on patriarchy. Men who appear to be modern on surface but actually placing themselves in authority. Vivek Soni along his writers do a fine job in calling out the double standards particularly in matters related to sexuality and desires

Starcast: R Madhavan, Fatima Sana Sheikh, Ayesha Raza, Namit Das, Manish Chaudhary and others

Genre: Romance

Director: Vivek Soni

Writers: Radhika Anand and Jehan Handa

Producers: Karan Johar, Somen Mishra, Aadar Poonawala etc

Production Company: Dharmatic Entertainment

,Music: Rochak Kohli and Justin Prabhakaran

Cinematography: Debojeet Ray

Running time: 1 hour and 55 minutes

Streaming site: Netflix

On the surface the plot of Aap Jaisa Koi feels a cross between Karan Johar’s Rocky Aur Rani Ki Prem Kahani and R Madhavan’s own Tanu Weds Manu. Much like Alia Bhatt in Rocky Aur Rani Ki Prem Kahani Fatima Sana Sheikh also plays a fiercely opiniated Bengali here. R Madhavan’s character of a middle aged bachelor has shades of the soft Manu. Thankfully though Aap Jaisa Koi has its own identity specifically the subplot of Ayesha Raza representing the numerous married women facing casual sexism and misogyny and how she breaks out of the conventions by following her heart.

The story of Aap Jaisa Koi primarily revolves around two people belonging to different age brackets as well as varied thought processes. R Madhavan is a 40 plus Sanskrit professor Shrinenu Tripathi. Shrinenu is painfully shy, he hasn’t even kissed till now. In short an absolute virgin becoming the butt of jokes. The friend played by Namit Das introduces him to an anonymous world of chatting with unknown women, the site is Aap Jaisa Koi. The chats in this site have sexual undertones which Shrinenu thoroughly enjoys. Fatima Sana Sheikh is Madhu Bose. a lecturer from Kolkata. Both of them meet in an arranged marriage set up and sparks fly soon. However the path is far from easy. The obstacles are societal expectations and the traditional expectations of gender roles. This is the story in brief.

A strong aspect of Aap Jaise Koi is the integration of different social issues like women’s desires along with the hypocritical attitude of men towards their choices. There is a key scene in the second half where Shrinenu and Madhu Bose have a split when everything is going right, the break up is connected to the dating site. Madhu Bose was also on the same site for a while chatting with many men. Shrinenu considers Madhu Bose a whore just because she chatted with numerous unknown males .The heated dialogues between the two exposes the double standards of men like Shrinenu who think of themselves as progressive but in actuality they are sexist.

In the beginning portions there is a heavy hangover of Manu in R Madhavan’s role but unlike that movie Shrinenu here comes with more shades. Post the bitter break up there are scenes of Shrinenu grappling with prejudices that he has never questioned so far. After a long time R Madhavan has returned back to the romantic set up and the actor is a delight to watch conveying the internal turmoil with just his body language. Fatima Sana Sheikh is confidence personified perfectly embodying the feministic attitude, additionally she looks gorgeous as well in the sarees.

Mention must also be made of Ayesha Raza’s heartfelt portrayal of a woman who hasn’t got the emotional love and often faces casual sexism from her husband. In spite of doing a job from home the husband doesn’t take her seriously, instead Manish Chaudhary’s character thinks that he is doing some favor by allowing her to work. This is where the theme of ingrained patriarchy comes in. This is cycle of inherited attitudes is very visible in Shrinenu’s view points towards Madhu being on Aap Jaisa Koi app. Manish Chaudhary is successful in making the viewers hate him, he perfectly embodies the character’s attitude making the role relatable.

The songs composed by Rochak Kohli and Justin Prabhakaran are soulful too. Jab Tu Sajan and Mila Tujhe stand out among the compositions. Both these numbers perfectly capture the blossoming romance.

Final word: Aap Jaisa Koi is a simple tale with feministic undertones. If you are in the mood for something breezy and are an R Madhavan fan do watch it.

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Criminal Justice Season 4(A Family Matter): A gripping legal procedural intermingling different threads

Director Rohan Sippy along with the writers do an excellent job in keeping up the viewers interest till the end. What makes Season 4 stand out is the exploration of issues like mental health and the grey areas in marriage. Pankaj Tripathi as lawyer Madhav Mishra slips into the part with practiced ease combining humor with empathy

Starcast: Pankaj Tripathi, Surveen Chawla, Mohammed Zeeshan Ayub, Shweta Basu Prasad, Mita Vashisht and others

Genre: Drama/thriller

Director: Rohan Sippy

Writers: Sandeep Jain, Sameer Mishra and Harman Wadala

Creators: Harman Wadala and Rahul Ved Prakash

Producers: Sameer Nair, Deepak Segal and Sameer Gogate

Production Companies: Applause Entertainment and BBC Studios India

No of episodes: 8

Streaming site: Jio Hostar

Starting from 5th April 2019 The Criminal Justice web series is one of the longest running web shows next to Panchayat which has also completed four. The character of Madhav Mishra played by a delightful Pankaj Tripathi is a much admired for his wit and the way he solves cases. It is one of those rare web series where as a viewer you need not see from the starting season given that the cases aren’t interlinked, each one is a fresh chapter with a few recurring actors and actresses. For those who are not aware the base of Criminal Justice web series is a British Television series of the same name.

As the title suggests season 4 of Criminal justice is primarily about the fragile family dynamics. Raj (Mohammed Zeeshan Ayub) and Anju (Surveen Chawla) were once upon a time a couple, now they stay separately but aren’t divorced. In spite of their fractured marriage Anju lives in the same apartment as Raj. The reason being the daughter Ira (Khushi Bhardwaj). Ira is suffering from Asperger’s syndrome. Asha Negi is Roshini a nurse who has been taking care of Ira and slowly becomes an important member of the family particularly for Raj. Raj’s mother and Anju have made peace with their relationship. This settled dynamics receive a jolt when Anju and the maid find Raj holding a blood-soaked Roshni. What follows is a courtroom drama shuttling backing and forth with the ever reliable Madhav Mishra

A strong aspect of Criminal Justice Season 4 is the dual narrative running simultaneously with the legal proceedings. The complex personal relationships with shades of grey coupled with the difficulties in raising a neurodivergent child has been etched well by both the director and writers. These two aspects give the series an emotional resonance making it more than just another case.

The investigation aspect with numerous layers also catches the viewers unawares on many occasions. You are always guessing on whether Raj is really the killer or there is something more to this. At one point there are seeds of doubt on Ira too, on whether she was somehow involved. Just when you think everything is solved the web series throws an expected googly leading to a brilliant revelation. The ending leaves the viewers with many thoughts on justice and sacrifice.

The angle of Asperger’s syndrome and the difficulties in raising a neurodivergent child has also been dealt with the required sensitivity. Rohan Sippy and the numerous writers have done a very fine job in starting a conversation about this condition, they show how people living with Asperger’s can also bring a fresh perspective. Khushi Bharadwaj plays her part with the right amount of authenticity, even though the screen time isn’t a lot.

As expected Pankaj Tripathi as Madhav Mishra is a delight to watch like the previous seasons. His sharp humor adds a lot to the courtroom proceedings, apart from the subtle comedy Pankaj Tripathi also brings an empathy in the scenes with Mohammed Zeeshan Ayub and Surveen Chawla. His scenes with the wife and the brother in law bring a smile to the viewers face. At one point the wife played by Khushboo Atre becomes an unexpected pillar of support as well.

Mohammed Zeeshan Ayub as Raj is also terrific in portraying the moral complexities of the role. He brings out the inner turmoil brilliantly. Surveen Chawla too is very good. She touches the viewers heart with an emotional performance specifically in the climactic portions. Mita Vashisht and Shweta Basu Prasad in the roles of opposition also bring strength to their respective parts. Their performances add a lot in making sure that the courtroom proceedings resemble a tense chess game.

Mohmammed Zeeshan Ayub and Surveen Chawla

Asha Negi as Roshini is sincere but her relationship with Raj is loosely etched making it difficult for the viewers to care.. The love track of Raj and Roshini has a rushed nature instead of an organic development.

Final word: Criminal Justice Season 4 is a binge worthy watch for fans of the previous seasons and of course the magnetic Pankaj Tripathi.

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3 BHK Flat: An ode to middle class aspirations and coming of age

The first half of 3 BHK Flat feels like a series of never-ending problems with the tone of a sappy TV serial, fortunately post interval takes a much better turn. The second half has two important subplots. One is Meetha Raghunath’s Aarti deciding that she will no longer put up with marital abuse and starts life new, the second one is the transformation of Siddarth’s character where he decides that he has had enough of the mechanical IT Job, he begins his studies afresh by doing engineering These two tracks elevate the film from being a typical middle-class story of sacrificing sons and daughters

Starcast: R Sarathkumar, Siddarth, Meetha Raghunath, Devyani, Chaitra J Archar and others

Genre: Drama

Direction and screenplay: Sri Ganesh

Based on: Tamil short story Aravindh Sachidanam

Producer: Arun Viswa

Production Company: Shanti Talkies

Music: Amrith Ramnath

Cinematographers: Dinesh B Krishnan and Jithin Stanislaus

Running time: 2 hours and 20 minutes

The core plot of Sri Ganesh’s 3 BHK Flat has a certain relatability specifically for young men who have grown up in certain households, the burden of expectations where the father looks at them as a beacon of hope. This hope acting as a catalyst for major life decisions and of course shunting between different houses with a shared dream of having one own’s home. The beginning portions of 3 BHK Flat has all the trappings of sacrificial drama, at one point boredom creeps in as well thankfully the movie doesn’t end up being regressive with its plot developments.

R Sarathkumar plays Vasudevan. He is a typical middle-class man with dreams of having an own home. The financial status of Vasudevan is quite wobbly; he has his hopes pinned on the son Prabhu (Siddarth). However, these expectations become a hurdle for the son, in spite of putting in all the hard work Prabhu remains a failure for a major portion of the movie. Devyani plays Vasudevan’s wife Shanti, she is the typical emotional pillar thankfully with a voice of her own. Meetha Ragunath plays the sister Aarti. This is the story in brief.

One of the things which work in 3BHK Flat are the atmospherics. Director Sri Ganesh does a fine job in setting up a lived-in atmosphere, whether it’s the conversations between the characters or the design of the different houses which the characters shuttle at numerous junctures. The characterization of Siddarth’s Prabhu is also relatable for most young boys growing up in typical middle-class families. The constant turmoil which Siddarth goes through for a large part of the movie hits the viewers hard making them empathize with him. The build up to the change is also smartly done without making it look abrupt. Siddarth does a very fine job in capturing the different nuances.

R Sarathkumar as Vasudevan also makes a strong impact in spite of coming across as not so likeable in some portions. The way he has portrayed the physical and emotional transformation from a 40-year-old to 60 plus is commendable. The scenes between him and Siddarth have numerous poignant moments. Meetha Raghunath is also wonderful more so in the post interval portions. Her act in the breakdown portion deserves a specific mention and the question that she asks about whether marital abuse is only about physical violence is so relevant. Meetha Raghunath is excellent in portraying the fighting spirit of Aarti. Devyani is also striking in her scenes giving good support. Rana Daggubati’s voice over as the different houses adds an interesting element although it doesn’t bring anything substantial.

Mention must also be made of how Sri Ganesh talks about important topics without making it come across as overtly political. There is a portion about the rising real estate making it difficult for a common man to fulfill his dreams, similarly the impact of societal pressures in choosing studies has also come out well. The songs composed by Amrith Ramnath have a soulful nature. Tracks like Kalaleene have an emotional resonance, at the same time Aagiponu Nenu works as an engaging motivational number.

A major problem with 3BHK Flat is a TV Serial treatment of the first half. As viewers you get a feeling of depression with the overdose of problem faced by Vasudevan and his family. The tonality of a sappy daily soap induces a certain tediousness making you wish that the movie moves at a crisper pace.

The cinematic liberties which the movie takes in the third act isn’t for all too. For some Prabhu quitting a well-paying tech job at 34 to pursue his passion while having aged parents at house will be tough to swallow.

Final word: 3 BHK Flat makes for a good watch if you are fan of middle-class dramas without the overtop commercial ingredients.

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Metro In Dino: A solid spiritual sequel exploring the complexities of love and marriage

Metro In Dino movie image

Anurag Basu’s Metro in Dino holds a mirror to today’s society much like the first movie Life in A Metro. Metro In Dino is a mostly gripping concoction of emotions and humor making you laugh as well as reflect. Pankaj Tripathi as Monty successfully takes over the mantle from the late Irrfran Khan. As a flawed husband he is both charming and also heartfelt in the emotional sequences. Sara Ali Khan’s track turns out to be the weak link partly salvaged by a charming Aditya Roy Kapoor

Starcast: Pankaj Tripathi, Konkana Sen Sharma, Fatima Sana Sheikh, Ali Fazal, Aditya Roy Kapoor, Sara Ali Khan, Neena Gupta, Anupam Kher, Saswata Chatterjee and others

Genre: Romance

Story, screenplay and direction: Anurag Basu

Dialogues: Sandeep Shrivastava and Samrat Chakravarthy

Producers: Bhushan Kumar, Krishan Kumar, Taani Basu and Anurag Basu

Production Companies: T-Series Films and Anurag Basu Productions

Music: Pritam Chakraborty

Cinematography: Abhishek Basu and Anurag Basu

Running time: 2 hours and 42 minutes

Life In A Metro released in 2007 was a romantic drama exploring different topics like extramarital affairs, the sanctity of love etc. The city of Mumbai where the different tracks take place simultaneously was also a character in itself reflecting the hustle and bustle along with the ambitions of making it big. The movie received widespread acclaim for the gripping narration, music and fantastic performances. Life In A Metro is widely considered to be one of late Irrfran Khan’s best work and rightly so, the actor was a sheer delight to watch with his wackiness, his track with an equally good Konkana Sen Sharma was the highlight of the movie.

Late Irrfran Khan and Konkana Sen Sharma

After a huge gap of 18 years Anurag Basu returns back with a spiritual sequel with similar strands and new additions. Like Life in a Metro the locations in this movie also become a character in itself perfectly reflecting the various moods and the emotional upheavals which the characters go through. The story of Metro in Dino focuses on numerous individuals spanning different age groups and cities. Pankaj Tripathi and Konkana Sen Sharma are Monty and Kajol respectively. The two are going through a major midlife crisis, the marriage has lost the spark. In order to escape from the boredom Monty takes the aid of a dating app leading to a lot of chaos. Ali Fazal’s Akash and Fatima Sana Sheikh’s Sruthi on the other hand are a young couple dealing with a major conflict of ambitions and a secured life. Neena Gupta and Anupam Kher play two lonely souls Shivani and Parimal respectively. For most part of her life Shivani has been stuck in a family rut not thinking about what she enjoys. All this changes during a college reunion. Lastly Sara Ali Khan’s Chumki and Aditya Roy Kapoor’s Parth are your typical gen z with issues commitment phobia and clash of ideas regarding the institution of marriage and what love really is. This is the story in brief.

A strong aspect of Metro In Dino is Anurag Basu’s handling of the various strands. The director has done a very good job in reflecting the contemporary society. The fast lifestyles of today and the sometimes-fickle nature of marriages has been brought out beautifully. The city audiences in particular will relate to the multi layered narrative and most would see a bit of themselves in the characters.

The use of music with Pritam and his band performing the songs has also been wonderfully integrated by Anurag Basu. It doesn’t feel jarring at any point. Much like Life In A Metro here too it enhances the various emotions which the characters go through at different points. There are also some occasions in the beginning where the main cast sing songs in the musical style of Anurag Basu’s Jagga Jasoos. This adds an interesting touch too giving a context into the background and the situations.

Among the four tracks specific mention must be made of two. The first one being Monty and Kajol. Both Pankaj Tripathi and Konkana Sen Sharma feed off each other wonderfully, whether it’s the comic situations of Monty unknowingly chatting with Kajol on the dating app or the second half portions where Monty is desperate to make amends. It’s an absolute delight to watch the two in one frame. As a flawed husband Pankaj Tripati delivers a knockout act perfectly capturing the different shades of Monty. A specific mention must be made of the scene in the pre climax where Monty expresses his anguish about how many more times should he say sorry. Konkana Sen Sharma is also delightful as Kajol. She brings out the fierce nature as well as the vulnerability brilliantly, there is a wonderful moment in the second half where Kajol questions about her mother’s passive acceptance of the father’s infidelity and how she doesn’t want to become like that.

Through the track of Ali Fazal and Fatima Sana Sheikh Anurag Basu is successful in bringing out the clash between ambition and practicalities. Ali Fazal plays an aspiring musician with big dreams, his father also had aspirations of making it big in music however things didn’t plan out that way due to family responsibilities. The fear of unfilled dreams and insecurity takes a toll on the marriage of Ali Fazal and Fatima Sana Sheikh. The emotional upheavals of the couple have a rawness to them without trying to sugar coat. Both the actors do a first-rate job in portraying the different nuances.

The story of Shivani and Parimal also has some interesting touches. Through this track Anurag Basu tells a liberating story of an older woman breaking out of a self-created rut. The transformation of Neena Gupta’s Shivani from a doormat to becoming more independent is wonderful to watch. The conversations between her and Anupam Kher have a philosophical touch to them as well regarding how love eventually happens in most marriages. The senior actors play their parts with the right amount of gravity.

Anupam Kher and Neena Gupta

In comparison to the three mentioned above Sara Ali Khan and Aditya Roy Kapoor’s one sticks out a sore thumb. This is mostly because of a Yeh Jaawani Hai Deewani and Ludo hangover. Aditya Roy Kapoor’s character feels like a mixture of Ranbir Kapoor’s Bunny and his own Akash, nevertheless Aditya plays the role with a certain charm salvaging the proceedings to some extent, the actor seems to be having a lot of fun with the quirky nature of Akash and that clearly shows in his scenes. His dialogue about how whether the so called happily married couples are really happy does work as a reflection of most relationships. Sara Ali Khan though is a major let down with her squeaky voice and poor voice modulation. There is an important scene where Chumki has to let out her inner anguish similar to the one in Life In A Metro involving Konkana Sen Sharma, but the way Sara portrays it makes the viewers feel zero emotion.

Coming to the music the songs of Metro In Dino has their own pluses, tracks like Zammana Lage sung by Arjit Singh and Dil Ka Kye by Raghav Chaitanya make for a soulful listen and a good watch. The cinematography by Abhishek Basu and Anurag Basu has a lived-in feel too. The two do a very fine job in capturing both the bustling nature of the cities as well as a certain inner loneliness.

Final word: Metro In Dino is a must watch for fans of intimate cinema.

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Uppu Kappurambu: A whimsical social satire with a wonderful Suhas

Suhas and Keerty Suresh

Director Ani I. V Sasi flips the concept of the famous Telugu poem on its head by saying everyone is equally important. Keerthy Suresh trying her hand at slapstick comedy is rather annoying in the beginning portions however the national award winner comes into her own as the movie progress. Her dynamics with Suhas gives the movie some of its best moments

Starcast: Keerthy Suresh, Suhas, Babu Mohan, Talluri Rameshwari and others

Genre: Comedy

Director: Ani I.V Sasi

Screenplay: Vasanth Mariganti

Cinematography: Divakar Mani

Music: Sweekar Agasthi

Producer: Radhika Lavu

Production Company: Ellanar Private Limited

Running time: 2 hours and 15 minutes

Streaming site: Amazon Prime

In terms of tonal structure both Shubham and Uppu Kappurambu have a distinct similarity, the use of screwball humor in addressing the respective social issues. This brand of farcical humor can take a while getting used to however both the movies are successful in getting the message across.

Uppu Kappurambu begins with Rana Ragubbati’s hilarious voice over perfectly setting the stage for the following outlandish scenarios. The broad storyline of Uppu Kappurambu focuses on Keerthy Suresh’s Apoorva. A young woman thrown into a tumultuous situation following the death of her father and village head Subbaraju (Subhalekha Sudhakar). Keeping up with the village tradition Apoorva takes over her father’s position. Babu Mohan and Shatru play Bheemaya and Madhababu respectively. They openly scoff at the very thought of a woman sarpanch and that too a naive young girl. Suhas plays the graveyard caretaker Chinna taking over his father’s position. In an odd turn of events Chinna realizes that the graveyard is running out of space to bury the dead. This leads to a lot of chaotic situations.

A major strength of Uppu Kappurambu is the dynamics between Apoorva and Chinna. The growing friendship between them as the two race against time gives some wonderful moments. There is an emotional poignancy to their conversations like the portion where Suhas reminisces about their school days talking about the huge disparity in their lives. Mention must also be made of Suhas’s retort to a man ridiculing Chitti Jayapuram having a female village head. He critiques the narrow mindset by mentioning about his village having a female deity, then what is so wrong about Chitti Jayapuram having a female head. The scenes of Suhas speaking to the dead as if they are long lost friends also make an impact.

Suhas is simply top notch moving the viewers with his heartfelt act. Keerthy Suresh on the other hand feels like a fish out of water in the initial moments however the actress does a very fine job in showcasing Apoorva’s transformation. From the initial nervousness to a more confident approach Keerty makes the viewers root for Apoorva.

Another ace of Uppu Kappurambu is the political aspect specifically the upper caste men wanting to exercise control over the graveyard. Through the characters of both Mohan Babu and Shatru the director has successfully brought about the angle of caste disparities. On the surface the village may give an impression on treating the dead with equal dignity however the truth is something else. This is amply clear in the portion where a character believes that his clan deserves the utmost space in the graveyard based on the long lineage.

Apart from the caste disparities Uppu Kappurambu also dwells into the themes of communal division, misogyny and the resistance to change. All these have come out well particularly in the movie’s later half where things start to get more coherent.

Apart from Suhas and Keerthy Suresh the supporting cast comprising of Babu Mohan, Shatru and Talluri Rameshwari also do well in their respective parts. Among the technical aspects Divakar Mani does a fine job in capturing both the village atmosphere and the eccentricities through his lens.

Among the flaws the movie’s screwball tone takes a while getting used, the humor in the beginning is also a hit and miss. An elongated sequence with Keerty using dramatic gestures to whip up a frenzy doesn’t elicit much chuckles. Similarly the sequences involving a village drunkard only add to the run time instead of adding anything substantial.

Final word: Uppu Kappurambu is worth watching if you are in the mood for something whimsical with a social message.

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Kannappa: A devotional second act saves the day

Manchu Vishnu in the role of Kannappa.

Manchu Vishnu donning multiple hats of an actor and writer takes a while to find his footing, however he comes into his own in the moving post interval portions specifically the climax. For Shiva devotees Kannappa will be a delight. Akshay Kumar as Shiva lends in the right amount of serenity and Prabhas as Rudra makes his presence amply felt in an extended special appearance.

Starcast: Manchu Vishnu, Akshay Kumar, Kajal Aggarwal, R SarathKumar, Mohan Babu, Preity Mukhundan, Prabhas, Mohanlal etc

Genre: Devotional

Director: Mukesh Kumar Singh

Story and screenplay: Vishnu Manchu

Producer: Mohan Babu

Production Companies: AVA Entertainment and 24 Frames Factory

Music: Stephen Devassay

Cinematography: Sheldon Chau

The story of a tribal hunter turned shiva devotee Kannappa is an important part of Indian mythology. The tale of Kannappa is closely connected with Srikalahasteeswara temple in Andhra Pradesh. The story of Kannappa was brought to life by the moving Bhakta Kannappa played by an excellent Krishnam Raju. The movie was a major commercial success and is remembered fondly to even this day.

Vishnu Manchu’s Kannappa is an modern adaptation of Bhakta Kannappa with added commercial elements. The destination is the same, but the packaging varies. For those who haven’t seen Bhakta Kannappa the plot of this one revolves around Thinnadu (an earnest Manchu Vishnu). He is a fierce hunter rejecting anything connected to god and divinity. He is far removed from the world of faith. R Sarathkumar as Nathanathudu plays the village head of a particular tribe. Nathanathudu is the complete opposite of his son Thinnadu, in spite of not liking his son’s views towards god Nathanathudu never forces his religious beliefs on him. The story essentially looks at the transformation of Thinnadu when he stumbles upon an Shiva Lingam changing his entire outlook towards religion and the existence of god. This is the story in brief.

Before getting deeper into the movie its necessary to get the comparisons out of the way. Manchu Vishnu is no Krishnam Raju and that is very visible in the initial portions. His warrior like presence has a certain stiffness, at times he seems to be aping Prabhas in the action and romantic portions. However Manchu Vishnu slowly starts to grow on the viewers getting the soul of Kannappa right. As earlier mentioned the post interval portions are far more engaging a big reason for this is Manchu Vishnu’s act, his portrayal of Shiv bhakt embracing a trance like state is excellent. In the climax where he removes his eyes has a wonderful intensity moving the viewers. Mention must also be made of Manchu Vishnu’s act in the fiery dialogues where he questions the act of human sacrifice in the name of rituals.

Prabhas as Rudra also plays a major role in making the second half better. The screen time of Prabhas is short but the interactions with both Mohan Babu and Manchu Vishnu are a perfect blend of humor and philosophical wisdom. He adds significant depth to Kannappa’s spiritual journey.

Prabhas as Rudra

The father and son dynamics between Thinnadu and Nathanadu also has some nice touches. An emotional conversation featuring the ghost of R Sarathkumar and Manchu Vishnu touches the viewers heart in particular. R Sarathkumar lends a certain dignity to his part.

Coming to others senior actor Mohan Babu as Mahadev Shasthri has a commanding presence, he nails the arrogant nature as expected while also shining in the sequence showcasing remorse. Mohanlal in a completely new look brings his signature gravitas. His pre interval sequence with Vishnu setting the base for the second half is nicely done.

The devotional songs of the second half also lift the movie. The song Shiv Shiv Shankar in particular is well tuned, it makes for a good watch and listen. Sheldon Chau’s cinematography is of a good order too. He does a fine job in capturing both the vast landscape and also the mythical moments through his lens.

A major problem with Kannappa is the attempt to make the story more pan India. The love portions featuring the two leads feels completely out of place, they feel more situated for a modern love story rather than the story of a non-believer turned devotee. Preity Mukhandan has a fiery presence starting off with promise but soon she just turns into a regular commercial heroine. The overdose of skin show leaves a bitter after taste occupying more space than necessary. Even the romantic songs featuring the two also lengthen the running time rather than aiding the narrative. The war sequences feel straight out of Bahubali and Hollywood movies. The clumsy CGI in some places don’t help matters either.

The likes of Bramhanadam and Saptagiri also feel out of place. The first half needed a much tighter edit, the village conflicts and the battle to protect a sacred lingam needed to be shortened since the main crux of Kannappa is the transformation story.

Final word: Kannappa is a delight for Shiv bhakts specifically the intense climax, its a sincere effort to bring alive the tale of a non believer turned devotee for the modern generation.